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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2008.6
- 수록면
- 287 - 307 (21page)
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Until the 1960s, Christian readings have prevailed over criticism of King Lear. Despite the mixture of the play's pagan setting and the Christian allusions crossing this play, many critics tried to read traditional Christian messages, centering on the pattern of sin, suffering, self-awareness and redemption.
However, Barbara Everett's skeptical reading in 1960 stays away from the idea of King Lear as a dramatized Christian pattern of sin, sacrifice and redemption. Elton also refuses to see this tragedy as a drama of suffering and redemption within a just universe ruled by higher powers.
These critical debates on the significance of King Lear have hitherto neither shown any interest in the play's contemporary social implications or its past political power system, nor have tried to reconsider and reinterpret these historical contexts from the modem point of view.
But the 1980s spawned theoretically well-armed criticism on Shakespeare's plays. Shakespeare studies have taken quite a different shape in modem literary theory, getting themselves out of the climate of traditional criticism. In recent years deconstruction, feminism, new historicism and cultural materialism show striking changes in the interpretation of King Lear, drawing contemporary historical documents into literary texts and highlighting political power, gender, and race. They are becoming the main critical movements currently delving into another aspect of significance of Shakespeare's plays. This fresh blooming of new criticism deals with oppressive structures of power and gender in Shakespeare's world and our own through new kinds of theoretical development. In this context, I believe that it is worth surveying the whole trace of change in the critical history of King Lear from 1800 to the present.
However, Barbara Everett's skeptical reading in 1960 stays away from the idea of King Lear as a dramatized Christian pattern of sin, sacrifice and redemption. Elton also refuses to see this tragedy as a drama of suffering and redemption within a just universe ruled by higher powers.
These critical debates on the significance of King Lear have hitherto neither shown any interest in the play's contemporary social implications or its past political power system, nor have tried to reconsider and reinterpret these historical contexts from the modem point of view.
But the 1980s spawned theoretically well-armed criticism on Shakespeare's plays. Shakespeare studies have taken quite a different shape in modem literary theory, getting themselves out of the climate of traditional criticism. In recent years deconstruction, feminism, new historicism and cultural materialism show striking changes in the interpretation of King Lear, drawing contemporary historical documents into literary texts and highlighting political power, gender, and race. They are becoming the main critical movements currently delving into another aspect of significance of Shakespeare's plays. This fresh blooming of new criticism deals with oppressive structures of power and gender in Shakespeare's world and our own through new kinds of theoretical development. In this context, I believe that it is worth surveying the whole trace of change in the critical history of King Lear from 1800 to the present.
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